Upon its release CRIES AND WHISPERS was hailed as one of Bergman's finest films. Although it has not quite held onto that original evaluation, it remains a very fine film--a subtle and delicately performed drama as remarkable for its silence as for its occasional moments of dialogue. And in many respects it offers an extremely good introduction to Bergman's work.

Like many of Bergman's films, CRIES AND WHISPERS shows the director's preoccupations with memory, communication, time, community, and death. The story is bleak: Agnes is dying and her sisters Karin and Maria have come to attend her during this final illness--but they prove unable to communicate in a meaningful way with either Agnes or each other, and Agnes' emotional care is left largely to her long-time maid, the devoted Anna.

As the film unwinds, we are bought into the memories of each woman in turn. The dying Agnes (played with powerful realism by Harriet Andersson) not only grapples with increasing pain, she recalls with regret the emotional separation that existed between her long-dead mother and herself. Sister Maria (Liv Ullman),a mindless sensualist, recalls an act of adultery that has poisoned her marriage; Sister Karin (Ingrid Thulin),who is emotionally cold, recalls an act of self-mutilation designed to thwart her husband's desires. Only the maid Anna (Kari Sylwan),with a peasant's directness, actually works to be of comfort, even going so far as to cradle Agnes' head on her naked breast and dreaming of comforting Agnes while her sisters fail.

The film is ever so delicately tinged with subtle elements of lesbianism, sadomasochism, and incest, and the emotional problems experienced by Maria and Karin are at least partly sexual in nature--but these are not the focus of the film so much as they are surface indications of a deeper internal turmoil. As to what that deeper turmoil is... Bergman might say it is the nature of life itself. We each stand alone, usually in denial of our own mortality, usually unable to reach each other in any meaningful way. A deep film, and in spite of its occasional awkwardness a memorable and touching film. Recommended.

Gary F. Taylor, aka GFT, Amazon Reviewer

OVERRATED "ART FILM" ALERT: The following film is adored by sophisticated and "with it" film fans. The fact that the average person may find the whole thing unfunny and bland is due to their just not being smart enough to understand and appreciate this masterpiece.

I have seen about 16-18 Bergman films and I would have to say that this just might be the worst one of the lot. Yes, the film is generally well-made--with lovely cinematography and decent acting. BUT, the entire story is just amazingly awful and hard to watch--unless you are into masochism. The story is about a woman dying from the ravages of cancer--complete with crying and extreme bouts of pain. At her side during her final days are her two sisters and her housekeeper (who, it appears has had a lesbian relationship with the dying woman). And during this wait (as well as after her death),they have a lot of flashbacks and fantasies. Some of them are interesting, such as Liv Ullman's flirtations with the family doctor, while others are inexplicably odd--such as the other sister's fantasy involving the mutilation of her genitalia in order to keep her husband (or anyone else) from touching her (complete with a lot of blood). At least I THINK this mutilation scene was a fantasy--at times it is hard to tell. Given these plot elements, I am AMAZED that so many see Bergman as one of our greatest directors!

So, if painful deaths from cancer, deep depression, bizarre fantasies and a VERY emotionally blunted script is your idea of fun, give this film a try. If not, then do something a little less painful and just hit yourself in the head with a 2x4!

One of Bergman's best films along with The Seventh Seal, Wild Strawberries, Fanny and Alexander and Persona. Whether it is the most accessible of Bergman's films I am not sure(of his masterpieces I'd say Wild Strawberries and of his films overall probably The Magic Flute),but it perhaps his most emotionally complex film. Bergman's films on the most part have superb direction and thought-provoking screenplays and Cries and Whispers is no exception on both counts, in fact it is one of the finer cases of being so. It is incredibly well made, with luscious cinematography by Sven Nykvist, an unforgettable manor house setting and a red colour scheme that proves just mesmerising. The music is also hauntingly beautiful. Harriet Andersson wrenches the gut as Agnes, while Liv Ullman and Ingrid Thulin are equally as effective. As is Kari Sylwan, whose grief as the peasant maid provides some of the most moving moments of Cries and Whispers. What really distinguishes Cries and Whispers aside from the production values, Bergman's direction and Andersson's performance is the story, which focuses on the failure of love and agony of loss. The family drama is intense, the agony of loss aspect is just harrowing and the use of memories and fantasies help to make the failure of love parts deeply moving. Overall, a masterpiece that is emotionally complex, superbly directed, beautifully acted and made and is moving, intelligent and harrowing in equal bouts. May not be for all tastes, but my advice generally is don't miss it. 10/10 Bethany Cox